Entertainment Weekly's Scores

Select another publication »
For 7,797 reviews, this publication has graded:
  • 68% higher than the average critic
  • 2% same as the average critic
  • 30% lower than the average critic
On average, this publication grades 2.2 points higher than other critics. (0-100 point scale)
Average Movie review score: 67
Highest review score: 100 13th
Lowest review score: 0 Wide Awake
Score distribution:
  1. Positive: 4,958 out of 7797
  2. Mixed: 2,079 out of 7797
  3. Negative: 760 out of 7797
7797 movie reviews
view
per page
  1. The Quiet
    This dank and rhythmless ''psychological'' potboiler was directed by Jamie Babbit, who made 2000's "But I'm a Cheerleader," and though she has shifted tones from shrill camp to moody angst in The Quiet, she still thinks in stereotypes so thin that they put you to sleep the moment they open their mouths.
  2. Queens
    A threadbare crazy-quilt of Spanish sex comedies, Queens wants desperately to be "Women on the Verge of a Big Gay Wedding."
    • 64 Metascore
    • 58 Critic Score
    Princesas
    The way that Aranoa so clearly venerates his lively women feels Almodóvar-esque, but the movie aims most of all to suggest that hookerdom is hell -- and it's neither realistic nor unsentimental enough to pull that off.
  4. Snakes on a Plane
    More potent than anything in Snakes on a Plane is the fantasy offscreen: that if enough people talk up their desire to see this film and, at the same time, take an overt delight in what an unabashed piece of junk it is, they will fuse with the hype, with the movie's mystique. They will not just watch Snakes on a Plane; they will own it.
  5. Accepted
    Accepted's winning dumbness and breezy bons mots save it from the pit.
  6. The Illusionist
    The Illusionist looks rigorously styled and measured, and every one of Norton's postures feels chosen. Yet the interesting actor has chosen so thoughtfully that we're riveted.
    • 17 Metascore
    • 16 Critic Score
    Material Girls
    It's not "Clueless," just clueless.
  8. Factotum
    It's too bad that the film was directed by the Norwegian minimalist Bent Hamer (Kitchen Stories), who makes a fetish of building scenes around silence.
  9. Trust the Man
    Can these banal relationships between undifferentiated lovelies be saved?
  10. 10th & Wolf
    At least Ribisi's fake-cojones histrionics are fun. The rest of this "Donnie Brasco" knockoff, with James Marsden as a Gulf War veteran who goes undercover, is a turgid, ketchup-spattered dud.
  11. Pulse
    In this American remake of the spooky, more-atmospheric-than-coherent 2005 J-horror thriller, the ghosts blink and crackle into existence with an electromagnetic sputter, but really, they're not so different from the gauzy, see-through spirits of yesteryear.
  12. Step Up
    Step, under the sure hand of director-choreographer Anne Fletcher, quickly discovers its own virtuoso charms. Two of them are its leads.
  13. Zoom
    In a feat of dullness quite powerful in its own way, this lifeless family comedy sucks the joy from every joke it touches.
  14. Half Nelson
    Half Nelson offers an opportunity to marvel, once again, at the dazzling talent of Ryan Gosling for playing young men as believable as they are psychologically trip-wired.
  15. House of Sand
    The House of Sand's director, Andrucha Waddington, lays on the Awesome Visual Poetry and throws in a welter of story gimmicks, but it's all a bit too fancifully arid.
  16. World Trade Center
    A scrupulous and honorable film. Yet it never comes close to being a revelatory one; it sentimentalizes more than it haunts.
  17. The Trouble with Men and Women
    Some movies make love look schematic. The Trouble With Men + Women makes those films look stunningly insightful.
  18. The Descent
    The director of The Descent is savvy enough to suggest even more than he shows. And he's old-school enough to load up on glimpses of good, clean, gruesome gore.
    • 42 Metascore
    • 58 Critic Score
    Barnyard
    It feels like Barnyard swipes too much of its plot from "The Lion King."
    • 51 Metascore
    • 50 Critic Score
    The Night Listener
    Is The Night Listener a wintry drama with a few schlocky jolts, or an underdone psychological thriller straining for some dramatic heft on the side? Hard to tell, but either way, the movie doesn't cohere.
  21. Talladega Nights: The Ballad of Ricky Bobby
    The races are scorchingly shot, and they lend the movie a zest.
  22. The Bridesmaid
    If The Bridesmaid is middle-drawer Chabrol, it's almost worth going to just to watch Laura Smet, a vamp of not-so-basic instinct.
  23. My Country, My Country
    Though the events have a rambling overfamiliarity, there's a real story between the lines: the resentment over the U.S. occupation on the part of non-insurgent Iraqis.
  24. Quinceañera
    Tthis isn't just any setup, is it: It's suds being sold as ethno-sensitive reality, a case of coveting thy neighbor's fiesta.
  25. Boynton Beach Club
    Gracious, if meandering.
  26. Miami Vice
    As entertaining as some of it is, is so cool that it's almost too cool. It takes the sin, and much of the juice, out of vice.
  27. Scoop
    A companion piece to "Match Point" that suffers all the more in comparison.
    • 41 Metascore
    • 25 Critic Score
    John Tucker Must Die
    Astonishingly (and offensively), the witless ending comes down harder on the women than the cad.
  29. The Ant Bully
    An effortlessly clever animated confection.
  30. 13 Tzameti
    French art thriller 13 Tzameti has a literal hair-trigger premise, yet it's so lacking in human dimensions that it creates virtually no suspense.
  31. Another Gay Movie
    Stephens stages Another Gay Movie in a style of low-budget fluorescent overkill, but a handful of the gags are low-down funny.
  32. Brothers of the Head
    A glumly serious British mock rock doc: You could forgive the paucity of jokes if Brothers of the Head had anything to say, or if the '70s-vérité surface were remotely convincing.
  33. I Like Killing Flies
    The result is an unabashedly home-cooked homage to New York eccentricity.
  34. Little Miss Sunshine
    If you're going to get on the wavelength of Little Miss Sunshine, you've got to be able to enjoy a comedy in which the characters fit into hermetically cute, predetermined sitcom slots.
  35. Been Rich All My Life
    Good times and bum times, they've seen it all and they're still here. Lucky us.
  36. Shadowboxer
    It doesn't take long to figure out that Shadowboxer 's Helen Mirren, as a cancer-ridden hitwoman, and Cuba Gooding Jr., as her doting stepson, are the most unconvincing team of hired assassins in movie history.
  37. Clerks II
    An agreeable mischievous romp.
  38. Lady in the Water
    Shyamalan's most alienating and self-absorbed project to date.
  39. Monster House
    Kenan directs with a zingy sense of kids, comedy, fright, and visual perspective. But the movie also shimmers and shakes in all its motion-capture animated beauty with the slyly deep sensibilities of executive producer Robert Zemeckis.
  40. My Super Ex-Girlfriend
    It's "Bewitched" meets "Fatal Attraction," with one funny bedroom scene, but it was a miscalculation to make Thurman the antagonist.
  41. Little Man
    Tedious.
  42. You, Me and Dupree
    Isn't a very funny movie (it preaches nonconformity in the rote style of an overlit sitcom), but Wilson, at least, keeps it afloat.
  43. Changing Times
    Strangely inert drama.
  44. The Oh in Ohio
    A silly, amusing trifle.
  45. Time to Leave
    Moreau's few ripe scenes are choice, and she spices up the joint with her gravelly voice of je ne regrette rien.
  46. Edmond
    We're in David Mamet World. William H. Macy -- the quintessential player of Mamet men in all their impacted rage -- stars in this claustrophobic adaptation.
  47. Gabrielle
    Greggory anchors Gabrielle in manly bewilderment and rage, while Huppert claws the title character's way to self-awareness.
  48. The Groomsmen
    Every actor registers...In a film of minor ambition, they're all worthy company.
  49. Pirates of the Caribbean: Dead Man's Chest
    Yes indeed, Pirates 2.0 is a theme ride, if by ride you mean a hellish contraption into which a ticket holder is strapped, overstimulated but unsatisfied, and unable to disengage until the operator releases the restraining harness.
  50. A Scanner Darkly
    In A Scanner Darkly, we're watching other people freak out, but the film is maddening to sit through because their freak-outs never become ours.
  51. Beowulf & Grendel
    A muscular, ardently naturalistic retelling of the ninth-century Anglo-Saxon saga.
  52. Kill Your Idols
    Takes a misguided swerve into the current downtown New York rock scene, so that it can spend more time preaching about the anarchy of the good old days than it does revealing them.
  53. Once in a Lifetime: The Extraordinary Story of the New York Cosmos
    It's a stylish scramble of evocative footage, groovy music, and crazy-candid reminiscences from key players still proud to score.
  54. Heading South
    A pleasurably unsettling, sunbaked tale of sex and politics set in late-1970s Haiti.
  55. The Devil Wears Prada
    The story is glossy junk begat of just-plain junk anyway: Lauren Weisberger, who wrote the hiss-and-tell roman à clef best-seller on which the picture is based, was herself an assistant to Wintour.
  56. Superman Returns
    The surprise of Superman Returns is that it isn't a funky, ambitious conceptual reimagining, like last summer's "Batman Begins." This really IS your father's Superman; it re-creates - and updates, though just barely - the universe Donner invented.
  57. Strangers with Candy
    If you loved Amy Sedaris before in a golfer-lady wig and inbred chump's grin, you'll maybe love her again here, while wishing she had another TV-episode-size venue for her talents
  58. Who Killed the Electric Car?
    Who Killed the Electric Car? makes you angry, and also sad, to live in a country where innovation could be contrived into an enemy.
  59. Wassup Rockers
    The sexy, scruffy, neo-Warriors pageantry of ghetto teen hunger would have been a lot more vital if Clark didn't have such a class-war chip on his shoulder.
  60. Click
    At times dark and at other times gooey.
    • 37 Metascore
    • 75 Critic Score
    Waist Deep
    Curtis Hall keeps slipping in surprising social and emotional flavorings rarely found in the genre.
  62. The Hidden Blade
    The Hidden Blade is tranquil, touching, and, in its climactic sword fight, excitingly real.
  63. The Road to Guantanamo
    Here's one case where it's no praise to say that a movie leaves you with more questions than answers.
  64. The Great New Wonderful
    Working from a stagy script by Sam Catlin, director Danny Leiner uses a dainty palette of tristesse (untouched when he made Dude, Where's My Car?) to suggest that the shadow of 9/11 makes every discontent more pathetic.
  65. Leonard Cohen: I'm Your Man
    I'm not generally a big fan of tribute concerts, but this is a glorious exception.
    • 45 Metascore
    • 33 Critic Score
    The Fast and the Furious: Tokyo Drift
    Gets lost in translation.
  67. Garfield: A Tail of Two Kitties
    In the ''flesh,'' Garfield himself (voiced by Bill Murray) is once again strikingly unlikable, a bloated, bingeing fascist.
  68. The Lake House
    The only real magic in The Lake House is that Kate and Alex have never heard of e-mail.
  69. Nacho Libre
    You can see what the film was going for, but the jokes just sit there; you chuckle a few times, mostly out of lame hope, but you never bust a gut, never really get what you came for.
  70. Land of the Blind
    There's nothing particularly revolutionary about writer-director Robert Edwards' grimly satiric political fable.
  71. Loverboy
    Bacon instinctively pushes Loverboy toward surreal domestic satire. It's fascinating to watch Sedgwick try to make Emily into a luminous wack job.
  72. Lower City
    Director Sérgio Machado, who worked as an assistant to Central Station's Walter Salles, lingers sensually over every wrong move his attractive tragic trio make.
  73. Only Human
    Cheery, expertly constructed Spanish farce.
  74. Wordplay
    Shortz's gentle manner and French-foreign-agent mustache go a long way toward making him a thinking girl's pinup nerd - and this despite the man's pitiless insistence on making the Saturday New York Times crossword puzzle ''tough as a _ _ _ _ _ _ _ _ _ _ _ _.''
  75. A/k/a Tommy Chong
    Chong does his time (nine months) and has the last laugh, emerging as a born-again activist-survivor of the culture wars.
  76. Cars
    A work of American art as classic as it is modern. Note to tourists: Leave before the very end of the credits and you'll miss some of the best and funniest roadside sights.
  77. A Prairie Home Companion
    What sustains the film is the performers' belief in their shaggy-dog selves, which is more than just talent - it's faith.
  78. Agnes and His Brothers
    Writer-director Oskar Roehler spends all his energy on cataloging ''outrageous'' behavior, and none on giving the transgressions any meaning.
  79. Crossing the Bridge: The Sound of Istanbul
    As filmmaking, the docu is only travel-diary so-so. But the chance to experience the machine-gun rhymes of ''the Turkish Eminem'' - a young man called Ceza - is priceless.
  80. The Heart of the Game
    The film is a furious full-court press, its subjects aflame with the kind of passion only youth can furnish.
  81. The Omen
    There's one moment that achieves the camp shiver of the original, when Damien's nanny hangs herself at his birthday party (''Damien, it's all for you!'').
  82. The Break-Up
    The best bits are incidental: Vaughn's chats with Jon Favreau as his bartender buddy, which are delightful interludes of jostling ego, and Judy Davis, looking like Anna Wintour redesigned by Tim Burton as an undead marionette, laying down the law as Aniston's boss.
    • 70 Metascore
    • 75 Critic Score
    District B13
    The big innovation here is that the two nimble leads, stuntmen-turned-stars, are devotees of parkour, a fancy French word for the fluid use of urban environments as jungle gyms.
  84. The War Tapes
    The War Tapes captures how the war in Iraq, for all its terrible carnage and death, is in a way too random in its destruction to even be called ''combat.''
  85. Peaceful Warrior
    In the ranks of improbable gymnastics coaches, Nick Nolte falls just below the cartoon version of Mr. T.
  86. Coastlines
    It's a heartfelt movie that could have used a zigzaggier undercurrent, though Olyphant, in the sort of role that Paul Newman used to swagger through, has a star's easy command.
  87. X-Men: The Last Stand
    This is interesting stuff. So why does The Last Stand feel driven to dumb itself down, as if embarrassed by its own ideas?
  88. Cavite
    A breakneck inner-city odyssey of jump-cut shaky-cam suspense.
  89. An Inconvenient Truth
    An Inconvenient Truth can't, of course, reveal a future that is still up to us, but by the time you're done watching, the real question is, Which way on God's green earth would you want to err?
  90. The Da Vinci Code
    The surprise, and disappointment, of The Da Vinci Code is how slipshod and hokey the religious detective story now seems.
  91. Over the Hedge
    The visual and verbal jokes are as bouncy and multilevel (hip height for adults, knee-slap-size for kids) as we have come, no doubt selfishly, to expect from DreamWorks.
  92. See No Evil
    As the killer, who plucks out his victims' eyeballs, Kane, the seven-foot bald WWE wrestler who's like a modern Tor Johnson, is so inept he's more cuddly than terrifying.
  93. The King
    Just about the only way to make sense of the film is to view its Christian family the way that the director, James Marsh, does -- with a contempt masquerading as social criticism. William Hurt, for one, deserves better.
  94. Lemming
    The movie, which has the slightly glum perversity of early Chabrol, is a dream of betrayal, with the squirmiest attack-of-nature tableau since Willard.
  95. Mouth to Mouth
    Writer-director Alison Murray picks at a hard, true hurt in this zombie melodrama of defloration, but nothing beyond that hurt really comes into focus.
  96. Twelve and Holding
    The young cast is terrific, giving the stories unearned weight.
  97. Poseidon
    It's a buoyant, old-wave disaster pic for a generation of well-conditioned thrill seekers charmed by the revelation that Richard Dreyfuss really is the Red Buttons of our day.
  98. Just My Luck
    Even in her dullest vehicle, Lindsay Lohan exudes an unfakable shine.
    • 53 Metascore
    • 58 Critic Score
    Goal! The Dream Begins
    The cast, all around, is sterling. There's only one thing they don't need to bring back for the sequels, and that's the movie's appetite for every sports cliché there ever was.
  100. Dead Man's Shoes
    The imagery is exotically grungy and jumbled by flashback, but in the end, the picture's more pulp than juice.
Page:

Top Trailers

See all »
See all trailers »